Theodore Ereira-Guyer’s practice takes on both concept and craft to produce works that combine print, sculpture and photography. Be it technically, chemically or artfully, he deliberately intervenes with his surface to alter the reproduction of his chosen source, for example, when etching on paper or plaster the plate is thoughtfully scratched or brushed with acid before being pressed. The etched sheets are then transferred onto plaster as part of a year-long process, which in the end reveals an image surviving duration and decay.

Through the deliberate flawing of his surface, Ereira-Guyer emulates the mechanism of memory. His process, one remoulded from that crafted for flawless reproduction is artistically altered so that no two translations are the same. Maintaining both the familiarity and estrangement of what is lost through the hand, through experience, and through chance, he fuses present and past and what is seen with what is remembered, forgotten and invented.